fretmeister

I use the pickup tops as a ramp so mine are always as close as I can get away with. I'm definitely making the P -v- J volume output problem worse! but I find it a lot easier to play that way with a damaged finger. If I play someone else's bass with lower pickup heights I have to swap to playing only with a pick. I just can't do fingers without a ramp anymore. At least not competently.

You don't have to stick with cables - but make sure you have a cable as a backup. Some pedalboard receivers have a dedicated Guitar Input socket so you don't even have to faff around disconnecting the wireless. Just plug the cable in, swap to that input, and off you go. 30 seconds max. The discontinued L6 G70/75 does that, the new model Shure GLXD16+ has it, and others. If I was in the market now I'd get a dual band (Like the new Shure) that automatically swaps between 2.4 and 5Ghz as needed to reduce congestion and dropouts. https://www.shure.com/en-GB/products/wireless-systems/glx-d_plus/glxd16p?variant=GLXD16+UK-Z4#explore As BigredX says - there are no 100% reliable systems at any money. Even the monster stage stuff like Metallica use where the players can be 30 meters apart have multiple back ups and have cables ready just in case. Sometimes the local conditions are just not what you need. That is not the fault of the gear though. There's no 100% reliable amps / basses / power supplies / singers either.

I've had a Boss LS-2 forever. It just works great. Sometimes I use just a single loop to turn on 2 or 3 at once in a single loop, sometimes I put different things in each loop, and sometimes I use it as a clean blend. It's the least exciting pedal in the world, but it's so useful! And it's a Boss so if you buy a new one you can leave it to the next generation in your Will. It will still be working just fine.

Funny you mention the selector switch. I used to prefer that too. I thought they sounded better but I also thought that was just in my head! Then after talking with a pickup maker I got my first lesson about insertion loss when 2 pickups are competing with each other via different pots or a passive balance control. Using a selector switch and just a single vol & tone solves that but then there are no blended tones available other than 50/50. Or more like 70/30 on a P because the P pickup is much more powerful. So on my j type I put in an EMG active balance control that removes insertion loss issues. Now I get the full J type tone no matter where the balance is set. I liked it so much I’ve done the same with my Ibby Mezzo too albeit with the EMG PJ-X set. The P alone sounds just like a P should, and the combined tone is much better. The P usually overpowers a J but with this set up I can balance it properly without any of the frequency loss that annoyed me when trying to balance passive PJ sets. The only trouble is that EMG active blend - 2 models, ABC and ABCX, are a bit expensive to buy as a single item, but for their full preamp systems that include a blend it is an active one.

Does Sadowsky do a 40-100 set instead?

It’s wonderful when something clicks and everything works!

It will cost you more money! There's lots of lovely examples in that thread, and some great advice too.

I have no idea why you are trying to pick a fight over a subjective opinion. I wish you good day.

I try not to speak for the majority until I've actually spoken to a majority of them to make sure I'm not presenting their views incorrectly.

There's a control on it called "Distortion" and it's a fuzz. It sounds like a fuzz and not a distortion.

Sounds more like a fuzz than a distortion. Nothing wrong with the tone, but it's not described well. EHX have a habit of doing that.

My own views are summed up by this (Some very naughty words WARNING!)

It's hardly Axl Rose levels of wankery though, is it?!

I don't know if anyone has posted these... but 2 Maxell tape adverts in 1 vid... Still makes me laugh after all these years.

D'addario Pro Steel for me. .135 tapered.

If you don't want to use an amp at all, then either a powered FRFR cab or straight into the main PA. Or both so you get some personal monitoring on stage. RCF / Yamaha / QSC all make good powered PA cabs that are excellent for use with preamp pedals and modellers etc.

I might try that on my long scale. Really more for swapping between E and D standard. I have 2 guitars, 1 in E and the other in D standard for recording and that might make things a lot easier for trying stuff out.

The 7000 was really just 2 3500 in a box. I had a LH500. It wasn’t impressive. Uninspiring. Good as just a power amp though.

Stu was a big name Hartke endorser many years ago. IIRC the MB is a modern version of the HA3500. I ran a HA3500 for years. It was a great amp. Probably the last good amp they did.

I finger palm it with my little finger. #magician

Worth remembering that if the bass has full size tuners then regular long scale strings will usually be fine. It’s s when mini tuning posts are used that the coil size is too small causing string breaks. String tension and stiffness vary so much across the brands that strings can be found quite easily. Going up a gauge but for a different brand can actually mean a lower tension and / or stiffness. I usually use 40-100 steel D’addario rounds on several basses, but for my Lionel I used DR Hi-Beams 45-105. They are round core and more flexible than the hex core D’addario. Roto shortscale Monel flats 40-95 are still way higher tension and stiffness than any 45-105 rounds I’ve tried. For the Lionel my favourite rounds are the Hi-beams, and favourite flats are Fender 9050L. (Well, it would be TI flats but a nickel allergy means I can’t use nickel strings anymore, but the 9050s are surprisingly close to my ear). I’ve got La Bella Deep Talking Flats on my Jim Deacon cheap bass for when I want a super deep old tone, helped by a 60s wind Aguilar pickup. I am going to keep my long scale Sandberg because I’m sure I will regret selling it if I did, but saving up for a shorty version has begun. Superlight options, of course!

I swap a lot, fingers, slap, pick. I don’t change amp settings ever as I want the differences to be obvious. I use a chunk of compression to help even out the massive dynamic differences though. I’ll often lower the bass tone for some songs but it’s not technique dependent, could be for any of the 3 ways. The song makes the choice really.

Excellent heads, but cabs are not so good.

Anyone who has ever owned a Les Paul doesn’t get to complain about them.

It will be class D. The vast majority of amp sales are now. They'd be mad to do anything else for their first amp.... unless they went down the £3000 boooteeeq made to order route. But there's probably not enough buyers for that sort of thing to justify the R&D spend. Class D, and I bet made offshore to be competitive on price. I don't have a problem with that. There's amazing stuff from all over the world now.